ENTERTAINMENTS

Southland Times, Issue 21194, 22 September 1930, Page 9

ENTERTAINMENTS

THE REGENT. “DYNAMITE”—/! MEMORABLE MELODRAMATIC PRODUCTION. The Regent has always had a name for consistency in its entertainment, and each succeeding programme seems to enhance that singular reputation. Packed houses at both the matinee and evening performances on Saturday were loud in tneir praises of Cecil B. de Mille’s outstanding first talkie production, “Dynamite,” a film which provided entertainment of a distinctly striking character embodying, as it did, all the ingredients which constitute a work of the highest dramatic merit. “Dynamite” is remarkable for its strength of character and striking originality and can indubitably be classed as characteristic of de Mille in his most melodramatic vein. The production is sheer melodrama of outstanding entertainment. value, adroitly conceived and replete ■with" situations of gripping, dramatic intensity. Whether it is in the producer’s conception of “society” disporting itself in the manner favoured by the present generation, with cocktail parties in luxurious apartments, or in his depiction of the stark terror of a collapsing coal mine gallery, hundreds of feet below the ground surface, de Mille brings into his scenes weath of detail, at once highly realistic and quite in keeping with the general tenor of the theme. In its unfolding, the story steadily gains in strength, always giving a hint of dramatic possibilities to come. In this manner the inherent value of the plot is emphasized unmistakably, and each sequence gains in intensity as the story develops. “Dynamite” is a play revealing a happy abundance of dramatic equipment but, at the same time, its success depends quite as much on a good cast as upon the actual content of its plot. In this regard, the producer has distinguished himself in selecting players peculiarly suited to the important roles. The principals uphold the highest traditions of the silent de Mille productions, for it- is obvious that they are fully seized of the exacting requirements by the story, and invest the characterizations with a dramatic value which is in true accord with the general atmosphere of the plot. The story, opening in a courtroom where a coal miner is being sentenced to death for murder, later swings to the condemned cell where, in consideration of 10,000 dollars paid to him by a young society woman (who, under her father’s will, cannot inherit his vast wealth unless she marries before she is 23 years of age) the fated man becomes her husband. But then the unforeseen occurs. Another man, at the point of death, confesses to the murder and the young husband is released. He seeks out his wife whom he finds entertaining a bright company in her apartment, and her shock at finding that the condemned man, married for convenience, is alive and free is only equalled by the stupefaction of her guests when the situation is disclosed. A scene occurs and the party disperses, leaving the woman broken at the loss of her friends. The rugged miner then discovers that his wife has been bargaining for the possession of her lover with the latter’s wife, and, in his disgust, he hurls at her the 10,000 dollars paid him at the marriage ceremony and returns to his own 110010. There she later seeks him out, for it is'discovered that she is to be actually living with her husband on her 23rd birthday if she is to receive her father’s estate and a temporary arrangement is arrived at. A few days in a rough miner’s home, however, convince her that she cannot carrjout the bargain and she communicates with her lover to come and take her away. He, nevertheless, is determined to divulge to the miner that his wife intends to leave him, and, in order to do so, the two descend the coal mine where the husband is working. Whilst there a terrible disaster occurs, the whole of the gallery in which the three are Jtanding collapsing with a roar, and they’are left doomed to a horrible death by suffocation in a tiny corner. The climax is worthy of a production in which the dramatic possibilities have been exploited to the full throughout, and the end loses nothing through being more or less conventional. As the miner, .Charles. Bickford give a vigorously life-like ' portrait ’of an interesting character, while Kay Johnson, who takes the role of the society girl, delights in an effective and altogether convincing characterization. Again Conrad Nagel, the lover, provides the play with that smooth and polished force only to be expected from an actor of his unerring capabilities.

“THE COHENS AND KELLYS IN SCOTLAND.” TREMENDOUS SUCCESS AT MAJESTIC. If there is anything funnier than a “Cohen and Kelly” it is another “Cohen and Kelly.” The famous Irish-Jewish comedy team trooped into the Majestic Theatre on Saturday to packed houses both at the matinee and night sessions, on their fourth annual fun-making excursion. This time they appear as “The Cohens and Kellys in Scotland” —and what they have undone in the way of mirth-provocation isn’t worth mentioning. George Sidney, Charlie Murray, Vera Gordon and Kate Price arc together again in this latest of Universal’s uproarious “Cohen and Kelly” series. All are seasoned actors of stage and screen, singularly gifted for comedy portrayals. They work together like clockwork. As for the story, suffice to say that the Cohens and Kellys, unknown to each other, start out for Scotland with the idea of making a fortune off the natives - . They find that they were exceedingly over-optimistic in their intentions. In so tough a spot do they find themselves that they sink their ancient enmity to become partners again. The picture is studded with hilarious bits of business which sound tame when related, but the treatment of which makes for unforgettable comedy. For instance, the ineffectual attempts of Cohen and Kelly to play golf, their antics when they bet on the horse races and Cohen trying to talk Scotch, all are extremely comical. It is no exaggeration to say there is not a dull moment in the entire picture. The laughs blend into one another so quickly that 'the mirth rimy fairly be said to be continuous. Given a funny plot and the finest, comedians on stage and screen, the result was the proverbial foregone conculsion. Much of the credit for the literally howling success of the picture must be given to William James Craft forhis splendid direction. Known as one of the foremost comedy directors in films, he had already shown his mettle in the “Cohens and Kellys” series by his direction of the “The Cohens and Kellys in Atlantic City." In their Scottish adventure he has surpassed himself. The first part of this wonderful programme contained some really excellent short all-talking and sound subjects. This programme will be continued for two more nights only. “ALL QUIET ON THE WESTERN FRONT.” Once in a very long time there comes to the screen a picture before which all critics of motion pictures must stand silent—a picture which proclaims that the screen possesses inherent in no other medium of artistic, expression; a picture which will appeal with -equal strength to the intelligence and to the emotions. Such a picture is “All Quiet on the Western Front,” Universal’s super-production of Erich Maria Remarque’s famous novel which opens for an extended season at the Majestic Theatre next Saturday. There have been war pictures which were primarily spectacles. There have been war pictures which were primarily romances. There have been war pictures which were primarily melodramas. “All Quiet on the Western Front” is primarily the story of youth—tl}e youth of all nations—in war. It is the story of one youth who symbolizes in himself the fate of all youth—comrades and foemen —cast into the flaming maw of war. In “All Quiet on the Western Front” thousands of men go down to death in the ferno of battle—to show the effect upon the soul of young Paul Baumer. To this same end others are maimed and tortured by the wounds inflicted by shot and steel. To this end thousands of shells whine and ecream across the fields of Europe, which the hate

of man has turned into the living grave of youth. By chance, and the genius that guided the pen of Erich Maria Remarque, the central figure of “AH Quiet on the Westetn Front/ 1 i-s u Gerniun. But nationality means nothing. The hero is an unknown soldier” of all nations—the epitome of .all youth that suffered and died in the war, or suffered and came back, but not the same, to a world that had passed them by. The story of “All Quiet on the Western Front" is poignant in its simplicity. It is a story of Paul Baumer, transformed from a schoolboy in a German village to a soldier in the trenches of the Great War. “All Quiet on the Western Front” is beyond the power of words to describe. It is technically, artistically, and, above all, spiritually flawless. Universal has kept faith with Remarque. There are no concessions to what is known as “movie.” It is tremendous as a spectacle but its greatness does not lie in that. Its surpassing power lies in its deep human appeal. It is more than a drama of uniforms. It is a drama of men. Young Lewis Ayres gives a superb performance—simple, moving, naive—in the roll of Paul Baumer. Louis Wolheim is magnificent as Katczinsky, hard-bitten veteran, benevolent protector and instructor of bewildered schoolboy soldiers. John Wray gives an unforgestable, performance as the martinet Himmelstoss.' Lewis Milestone’s direction will confirm his position in the foremost rank of motion picture directors. He is at once master of the wide sweep of the panorama and the delicate lines of the miniature. He has painted with unerring facility. living human figures against the magnificently terrible background of war. “All Quiet on the Western Front” stands alone as a motion picture achievement. Once seen it will never be forgotten. Plans are open at the Bristol Piano Coy.; Dee street, or ring 738 for reservations. THE CIVIC TALKIES. NYNCY CARROLL, HARRY GREEN, * LILIAN ROTH, MITZI GREEN IN “HONEY.” “Honey” which opened at the Civic on Saturday ranks as an excellent musical comedy. Nancy Carroll is a great favourite with film fans and they enjoyed thoroughly this charming romance in which she is backed up by an excellent supporting cast, which includes several excellent comedians notably Harry Green, Zasu Pitts and little Mitzi Green. The Dangerfields, brother and sister, whose fortunes have/ dwindled to vanishing point, lease their fine old Southern home to a wealthy New York widow, who stipulates that only white servants will be tolerated by her. The Dangerfield’s attorney arranges for a staff of maids and a butler from a nearby city,

but cn route the said staff have got gloriously drunk with the exception of Maymc, the upstairs maid, who is the only one to arrive on the scene, accompanied by her imp of a daughter, just two hours before the expected arrival of the widow, her daughter, her watch dog in the shape of fiance. The brother and sister therefore decide to enact the role of cook and butler respectively, and their adventures, amorous and otherwise, make up a very entertaining story. The acting by all- the cast is. good, but the cream of the comedy is provided by Doris, the impish youngster. Enacted by Mitzi Green, with all the verve and unquenchable deviltry of an irrepressible kid, this is a great bit of acting. Jobyna Howland is excellent as Mrs Falkner, while the dolorous maid is portrayed by Zasu Pitts with her customary relish. Nancy Carroll and "Skeets” Gallagher are both very good indeed, and audiences should enjoy Gallagher's attempts to be the “dinkuni oil” in butlers. His duets with Lillian Roth, as the daughter who prefers the butler to her cut and dried fiance (who in turn prefers the “cook”) are well done. Miss Carroll acts and sings well, and is a very sweet and appealing heroine. This feature with its programme of supporting short subjects will be repeated again to-night. REGENT THEATRE, GORE. “THE LOVE PARADE.” When “The Love Parade” appeared in Australia, it was hailed as one of the greatest talkies, produced on a most lavish and stupendous scale. Headed by Maurice Chevalier, the idol of Paris, one of the foremost screen personalities of the day it contains a notable cast. In “The Love Parade,” Chevalier far excels the- triumph he scored in “Innocents of Paris.” His singing again makes a tremendous appeal. There again it is not so much the quality of his voice as the charm of his personality which calls for admiration. Chevalier has a manner of singing his songs which reaches right out to the heart of his listeners. Then Chevalier is handsome and causes many a heart to beat wildly, and just how well he accomplishes’ this none too easy task is shown in “The Love Parade,” a 'sparkling operetta translated without jar or jolt to the sound screen. To-night will be the last screening at the Regent Theatre, Gore, of this superlative talkie.